• Home
  • About Me
  • THE LIST Through the Years
  • Top Twelves and More
  • The End Credits Song Hall of Fame

Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Action

April and the Extraordinary World (2015)

22 Sunday Apr 2018

Posted by sgliput in Movies, NaPoWriMo, Poetry, Reviews, Writing

≈ 5 Comments

Tags

Action, Animation, Family, Fantasy, Foreign, Mystery, Sci-fi

See the source image

(Today’s NaPoWriMo prompt was to write about how one of a list of impossible things could actually happen, so I thought of a certain highly imaginative film.)

 

“Pigs can’t fly,”
They said. “Of course,
And cats can’t join
The labor force.”

“Clocks can’t chime
Thirteen,” they vowed,
“Nor rewind time.
That’s not allowed.”

But some will hear
Such sober laws,
And ask with thought,
“Why not?” because

The present world
They recognize
Is changing more
Before their eyes.

If they dislike
Such rules, they dream
Worlds where clocks strike
Thirteen, where steam

Propels machines,
Where pigs can fly,
Where magic beans
Grow greens so high,

Where men can grow
Beyond their flaws.
Imagination
Knows no laws.
___________________

MPAA rating: PG

I love animation, and I love discovering hidden gems that remind me why I love animation. April and the Extraordinary World is a delightful case in point. At a time when the U.S. and Japan seem to rule the animation industry, it’s also an important reminder that Europe has no shortage of talent and is just as likely to churn out an instant classic for those willing to search for it.See the source imageA French-Belgian-Canadian co-production, April and the Extraordinary World is one of the most imaginative films I’ve seen in a while, broadly rewriting history to create a unique steampunk setting, one in which science and technology couldn’t develop beyond the Steam Age. Vegetation has been decimated by fuel needs, and the air is thick with industrial smoke, while the scientists that could improve things have vanished without a trace. After a fast-paced introduction in which everything is significant, we meet April Franklin (Marion Cotillard in the French version, Angela Galuppo in the English dub) and her brilliant family of fugitive scientists. Due to events best seen rather than described, April grows up alone with only her talking cat Darwin (a product of SCIENCE!), and her chemist’s quest for an immortality serum soon turns into a whirlwind adventure as the French government and a mysterious group with advanced technology vie for the scientific secrets of her family.

Animation allows its creators to fashion worlds limited only by their imagination, but most cartoons are content to imagine small. It’s usually Pixar or Ghibli that brings the medium to its full potential, but so does April and the Extraordinary World, which often feels like something one of those two powerhouses would have conceived. Where else are you going to see giant cable cars that run from Paris to Berlin or a helicopter plane escaping an underwater prison? The animation has the distinctive look of a European comic (apparently based on the work of French comic artist Jacques Tardi), and although it seems like it would take some getting used to, it actually flows quite nicely, with plenty of clever detail in the settings and backgrounds. It has strong characters to boot, from resourceful April herself to her quick-witted grandfather, though, as a cat lover, my favorite has to be the talking cat Darwin (Tony Hale in the dub, which also includes Paul Giamatti, J.K. Simmons, and Susan Sarandon).See the source imageWhile the imagination is impressive, I could still recognize prior influences for April, most notably 2004’s Steamboy, another steampunk adventure featuring a young protagonist caught in the middle of a scientific power struggle with a similarly explosive ending. Plus, it’s hard to avoid comparisons to Ghibli when there’s an actual house atop mechanized legs á la Howl’s Moving Castle or a polluted atmosphere contrasted with a clean underground biome á la Nausicaä. You might also pick up on traces of Atlas Shrugged and Tomorrowland, though the latter was released the same year as this film. Regardless, April and the Extraordinary World brings all these disparate elements together into a thrilling package that’s better than most of the films I just mentioned.

With a complex and fast-paced storyline and a number of off-screen deaths, it does feel more intelligent and mature than your typical American cartoon (not to mention the detail put into Darwin’s backside), but there’s nothing to make it un-kid-friendly either. By the surprisingly satisfying end, I was just happy to have stumbled upon such an underrated gem, one that no fan of animation should miss.

 

Rank: List-Worthy

 

© 2018 S.G. Liput
563 Followers and Counting

 

 

Ready Player One (2018)

21 Saturday Apr 2018

Posted by sgliput in Movies, NaPoWriMo, Poetry, Reviews, Writing

≈ 2 Comments

Tags

Action, Drama, Mystery, Romance, Sci-fi, Thriller

See the source image

(Today’s NaPoWriMo prompt was for a poem inspired by the myth of Narcissus, who loved his reflection so much that he turned into a flower. Ah, those crazy Greeks…. This is an example of what I love about NaPoWriMo, because an ordinary poem of mine for this movie would have been quite different.)

 

I am the mirror that captured Narcissus,
A pool that reduced him to frailty and pride.
I am the mirror that heard the queen’s hisses
When told that Snow White was the more glorified.

I am the mirror no longer a mirror,
Tranformed over time to expand my appeal.
The more I’m admired by people, the dearer
I am to their lives, making all else unreal.

A whole generation and those in their wake
I’ve snared in a world they create to comply,
A mirror to show the world them for their sake,
Allured and immured by the power of “i”.

I’m praised for convenience, for freedom, for fun,
A magnet for eyes lest their view be too wide.
It’s up to the viewer what evil I’ve done;
I’m merely the mirror for frailty and pride.
___________________

MPAA rating: PG-13

There have been four movies I’ve seen so far in 2018 that I’ve genuinely loved, which, since it’s only April, is one a month (not bad). And it thrills me to no end that one of them is the film I declared my #1 movie that I hoped would be good. Steven Spielberg’s adaptation of Ready Player One didn’t blow my expectations away, like Train to Busan or The Greatest Showman, but I went in wanting to love it and found plenty of reasons to do just that.

See the source image

 

As someone who enjoyed Ernest Cline’s novel immensely, I can confirm that the film diverges quite a bit from its source material. Yet, unlike other decent but disappointing adaptations (Eragon, Inkheart), Ready Player One the film still adheres to the spirit of its source, and the fact that Cline himself cowrote the screenplay assuages my concerns about the many plot aberrations. Even so, the core story is intact: a massive multiplayer scavenger hunt through the virtual world known as the OASIS, a world and hunt created by dead eccentric James Halliday (Mark Rylance, who plays his social anxiety a bit too wooden). The entire world is in search of Halliday’s hidden Easter egg, which grants ownership of the OASIS to the winner, but no progress is made until Halliday fan Wade Watts (Tye Sheridan) earns the first of three keys, making him a target for the evil, power-hungry IOI corporation (led by an accent-less Ben Mendelsohn).

All that is straight out of the book, but in the leap from page to screen, changes are inevitable. If you’ve read the book, your enjoyment of the movie just might depend on how much such changes bother you. My VC, for example, enjoyed the film but harbored reservations about the rampant alterations of its second half. (She said, if she hadn’t read it first, she’d outright love the movie.) Yet, I think many of the changes work in the film’s favor. True, the book is better, but there are many parts of it that wouldn’t transfer well to the screen, such as the months that go by between breakthroughs or the important plot advances that consist of beating literal arcade games. Turning one of these challenges into a demolition derby race, for example, makes it far more exciting cinematically, while changing Halliday’s much-studied journals into a gallery of virtual records makes Wade’s research more visual. Also, the replacement of certain pop culture references with others is likely the result of copyright compromises and the filmmakers’ desire to play with particular “toys.”

See the source image

And boy, do they lay on the pop culture references, 90% of which swirl by far too quickly to fully appreciate. Yet the recognition that comes in those moments is an unparalleled thrill for nerds like me. Where else are you going to see the time-traveling DeLorean race the bike from Akira or Overwatch’s Tracer charging into battle with the Iron Giant? The cameos also vary depending on the viewer’s personal tastes; a friend of mine recognized a Lancer weapon from Gears of War, I geeked out at the site of the roulette wheel space station from Cowboy Bebop, while my VC chuckled at an incantation from Excalibur, all references that one of us “got” and the others didn’t. Thanks to the CGI mastery on display, there were several (likely entirely animated) sequences where I just sat there with a goofy grin on my face in a little place called geek heaven.

Except for the idea of not liking any changes in general, I can understand many of the complaints I’ve heard about what is essentially an alternate version of the Ready Player One story readers knew. Some of the rules of the OASIS are glossed over, potentially leaving questions for unfamiliar viewers. The characters aren’t nearly as developed as their counterparts on paper, lacking defined character arcs, and there’s little attention paid to the problems of this dystopian world outside its virtual refuge. The romance might be too rushed and convenient, the avatar of Wade’s friend Aech looks nothing like I imagined from the book, the very long runtime is felt by the end, and they should have included WarGames, dang it! It’s true; Ready Player One is not a perfect film, but I’ve rarely been better entertained in true Spielberg blockbuster fashion.

See the source image

It’s really quite simple: I am Ready Player One’s target audience. I’m the nerd who revels in shared geekery, while appreciating half-realized lessons about the value of a life outside of technological obsession. I think that, drawing its inspiration from a great book, this Ready Player One is a great movie, boasting a visual awesomeness that puts most movie spectacles to shame.

Best line:  (Halliday, echoing Groucho Marx) “I created the OASIS because I never felt at home in the real world. I just didn’t know how to connect with people there. I was afraid for all my life, right up until the day I knew my life was ending. And that was when I realized that as terrifying and painful as reality can be, it’s also… the only place that you can get a decent meal. Because, reality… is real.”

 

Rank: List-Worthy

 

© 2018 S.G. Liput
563 Followers and Counting

 

Jumanji: Welcome to the Jungle (2017)

16 Monday Apr 2018

Posted by sgliput in Movies, NaPoWriMo, Poetry, Reviews, Writing

≈ 2 Comments

Tags

Action, Comedy, Fantasy, Thriller

See the source image

(Today’s NaPoWriMo prompt was for a poem concerning play or a game, so a movie about a game seemed like a no-brainer, especially since I worked in a bit of rhyme from the film itself. It’s from the perspective of the game.)

Ha, ha! Here they come!
Someone’s found me at last!
I’m as bored as they look
And in need of a blast.
They pause at this chance
To play like in years past.

But though they may believe me lame,
An old, archaic parlor game,
They always play me all the same.

Ha, ha! Here they go!
Fun is not a hard sell.
Well, my fun at least,
Though they’ll have some as well.
It’s time now to play
And perhaps to raise hell.

So when you’re bored, keep me in mind,
“A game for those who seek to find
A way to leave their world behind.”
_______________________

MPAA rating: PG-13

When I first heard that there would be a sequel to Jumanji, a beloved childhood classic for me, I declared it sacrilege. When I saw the trailer for Welcome to the Jungle, I was suspicious but open to this new version of the cinematic game. And now that I’ve seen it, I’m actually surprised at how well it turned out. This is a rare example of a sequel/reboot done right, in that it doesn’t try to live up to its 22-year-old predecessor, instead charting a creative and modern course with the barest homage to the original.

See the source image

After doing who-knows-what to those French kids at the end of the first movie, the Jumanji game somehow ends up back in New Hampshire, but when faced with the competition of console video games, it transforms itself into a video game. It is later found by a quartet of high schoolers in detention, who are sucked into an actual jungle environment and transformed into highly contrasting avatar bodies: nerdy kid Spencer (Alex Wolff) into a hunky archaeologist (Dwayne Johnson), football player Fridge (Ser’Darius Blain) as a diminutive lackey (Kevin Hart), shy misfit Martha (Morgan Turner) into a butt-kicking heroine (Karen Gillan), and self-absorbed brat Bethany (Madison Iseman) into a fat man (Jack Black).

It sounds complicated when you describe it in detail, but the premise is fairly straightforward as the no-longer-teenagers navigate the dangerous levels of the game in an effort to escape. Turning Jumanji itself into a video game was actually a brilliant idea, keeping it different from the original and updating the concept to our more virtual world. Plus, it allows for a great many jokes as it incorporates the conventions of video games into the very fabric of the plot, such as multiple lives and various abilities and weaknesses.

The main draw for humor, though, is the cast of charismatic stars playing against type…well, except Kevin Hart. He’s his usual rowdy self, but it’s great fun watching the Rock realize his own strength or Jack Black impersonate a teenage girl. Karen Gillan’s attempts to gain more confidence and learn the ways of flirting are particularly funny, and aside from some admittedly amusing penis jokes from Black, the PG-13 rating keeps things both tame and entertaining, even working in a bit of genuine emotion by the end.

See the source image

As much as I enjoyed the video game reworking of Jumanji, it couldn’t hope to match my fondness for the original, even if it’s infinitely better than I had expected a year ago. I’m glad too that they didn’t try to replace Robin Williams or anything like that, instead offering a subtle reference to confirm this as a respectable sequel. It now makes me wonder if this Jumanji will have the same sense of nostalgia around it twenty-two years from now.

Best line: (Spencer/Bravestone) “It’s a lot easier to be brave when you’ve got lives to spare. It’s a lot harder when you only have one life.”   (Fridge/Moose) “We always only have one life, man. That’s how it is.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
559 Followers and Counting

 

Thor: The Dark World (2013)

15 Sunday Apr 2018

Posted by sgliput in Movies, NaPoWriMo, Poetry, Reviews, Writing

≈ 1 Comment

Tags

Action, Drama, Fantasy, Sci-fi, Superhero

See the source image

(Today’s NaPoWriMo prompt was to write of a villain made relatably human, so I focused on how Loki feels as his father’s second favorite.)

 

Here am I, Loki, a god of Asgard,
Who ought to be king just for trying so hard.

The unchosen heir, second fiddle since birth,
Locked up just for seeking to conquer the earth!

I’m here behind energy fields, and where’s Thor?
Out hogging the glory like so oft before.

Who cares about me, the black sheep of the court,
The outcast brought in to be cast out for sport?

I’m Odin’s chagrin and his family’s regret,
But he and his favorite have seen nothing yet.

One day, they’ll come crawling to me in this jail,
Not knowing how deeply I’ll savor betrayal.
______________________

MPAA rating: PG-13

My family and I have been rewatching all the Marvel movies recently in preparation for Infinity War and to remind us of everything that came before. In doing so, I realized that Thor: The Dark World is the only one I haven’t reviewed, and I couldn’t let that slide. Such an oversight sort of proves that The Dark World is one of the weaker Marvel entries, and, although Thor is one of my least favorite Avengers, it’s still actually quite a solid film in the series.

Picking up after Thor (Chris Hemsworth) returned the Tesseract and an imprisoned Loki (Tom Hiddleston) to Asgard in The Avengers, The Dark World introduces the universe-hating Dark Elves and their secret weapon called the Aether, later revealed to be one of the Infinity Stones. (Can you tell I’m a Marvel nerd yet?) Awakened from exile after Thor’s girlfriend Jane (Natalie Portman) discovers and absorbs the Aether, the Dark Elves seek vengeance on Asgard and, you know, try to destroy the universe.

See the source image

The Dark World’s biggest problem is its villain, Malekith (Christopher Eccleston), who remains the most forgettable of all of Marvel’s many disposable villains. Not even a Lost alert for Adewale Akinnuoye-Agbaje as a Kursed henchman could make the bad guys anything but dull threats. There’s literally nothing to them except getting the Aether to destroy everything, and the exposition-heavy prologue about the Dark Elves’ history weighs things down in unmemorable mythology.

I suppose mythology could be considered both a strength and a weakness for the first two Thor movies, steeped in Norse lore and Shakespearean pageantry as they are. With the Middle-Earth-style costumes and old English dialogue, they’re rather unique and somewhat sophisticated next to the lighter Marvel movies, yet they can easily become an overly serious bore for those who aren’t interested in those things. That’s likely why Thor: Ragnarok went full-on sci-fi comedy as a contrast, which was both good and bad.

See the source image

Yet The Dark World’s strengths shouldn’t be forgotten either. Hemsworth and Portman are so admirable and sincere in their roles that they manage to sell their average romance, while Thor boasts outstanding chemistry with his double-crossing adopted brother Loki. Their rivalry is the biggest character highlight of the Thor series, which is probably why Loki has stayed around in all three movies.

The special effects are also as eye-popping and destructive as the rest of Marvel’s repertoire, especially the Dark Elves’ invasion of Asgard, while the scope and adventure of visiting different worlds make it a far grander ride than the first Thor. (Did anyone else notice that the giant rock guy Thor shatters near the beginning looks a lot like Korg from Ragnarok? They may be from the same race.) Plus, I think the orchestral score by Brian Tyler might be one of the best of any Marvel movie, except The Avengers, and a decent balance of gravity and humor keeps things entertaining without going off-the-wall like Ragnarok.

See the source image

I enjoyed The Dark World more than I remembered, proving that even the lesser Marvel movies have plenty to offer. In fact, despite being more of a Runner-Up, I think I’ll go ahead and make it List-Worthy. Ragnarok found its way onto my Top 365 List last year when the other two Thors didn’t because I thought it was so much better, but I’m going to follow my own rules and put all three together. Even if The Dark World suffers from a bland villain, it’s still a good superhero movie, and I don’t think we comic nerds should be too hard on it.

Best line: (Thor, summing up his relationship with Loki) “I wish I could trust you.”

 

Rank: List-Worthy (joining Thor: Ragnarok)

 

© 2018 S.G. Liput
556 Followers and Counting

 

Girls und Panzer der Film (2015)

09 Monday Apr 2018

Posted by sgliput in Movies, NaPoWriMo, Poetry, Reviews, Writing

≈ 3 Comments

Tags

Action, Animation, Anime, Comedy, War

See the source image

(Today’s NaPoWriMo prompt was to combine something big and something small, like maybe tanks and girls for example. Inspired by this silly anime, I wrote a fake account of how tank warfare might become a girls’ sport.)

 

Years past, the tanks rolled into town
And terrorized the folk.
With dread renown,
Each new crackdown
Would paint the sky in smoke.

They came in force to crash and kill
And crush with cannon fire.
Such lethal will
They did fulfill;
The people’s need was dire.

One fateful day, a young girl eyed
An empty tank left bare.
She seized with pride
This chance supplied
By carelessness and prayer.

Against all odds and common sense,
She drove the tank somehow.
Her zeal intense,
In her town’s defense,
She raised every eyebrow.

She shocked the foe, confused their ranks,
And drove them from the land;
And it’s all thanks
To her that tanks
And girls go hand in hand.
_____________________

MPAA rating: Not Rated (PG is fine)

Anime has given us a lot of weird and wonderful concepts over the years, the kind you should just enjoy for their silliness and not think about too deeply, but making tank warfare a girl’s sport takes the cake for me. Even though I’ve never been particularly fond of tanks or the cute girl genre, Girls und Panzer was an admittedly fun ride, made even more fun by its big-screen follow-up.

See the source image

The 2012 TV series featured a ragtag group of girls from Ōarai High School rallying under the leadership of skilled but reluctant transfer student Miho in order to win a series of tank war games and stave off the closing of their school and town, which happen to be on top of a giant aircraft carrier (yes, really). The characters are simple and likable, with most development reserved for Miho and her four closest friends. The rest of the vast cast gets the most basic development possible as members of other clubs that nonetheless contribute to the tank warfare, which seems to use real ammunition and has no regard for property damage, since the government underwrites everything as an official sport. The set-up is enjoyable enough, but the real draw here is the tank battles, explosive clashes between war machines that are depicted with surprising historical accuracy for the most part. At only twelve episodes long, the series is short but doesn’t lack thrills, as the underdog Ōarai team faces off against more accomplished high school teams that each conform to the trappings and tactics of a different nation (Americans, Russians, Italians, Germans, etc.).

See the source image

If any of this sounds entertaining, go watch it because it’s nice and short, and I’m about to spoil the ending. It’s probably no surprise, but Ōarai wins. Yet the movie doesn’t let that victory stand for long; one exhibition match later, the government is eager to shut the school down again, putting Ōarai in the exact same position of betting their school’s fate on a giant tank battle, this time against a University team. With this battle, however, they’re so hopelessly outmatched that their former rivals beaten during the series come to their aid and take part in one big tank free-for-all.

Like the series, there is some confusion at times over who’s in which tank, and what’s happening is not always as clear as it should be. Yet the battles are still quite well planned, putting different styles of tank to good use and employing some very clever strategy along the way. (One planning session between the allied teams is like an argument between the tactical methods of all the major countries of World War II.) While the show had some semblance of realism in the tank’s capabilities, albeit small, the movie goes full-out bonkers with tanks flying through the air, sliding down rollercoaster tracks, and zooming around like high-capacity bumper cars. Some of the casualties would carry more weight if anyone was actually in danger, but that apparently never happens in this sport, and it’s perfectly fine to stick your head out the top hatch while being shelled (really).

See the source image

This isn’t the first anime film I’d recommend to anyone, but it’s now high on my list of guilty pleasures just for how gleefully crazy and bombastic it gets. By the time the battle moves into a theme park to use the rides as unconventional weapons, I was just enjoying the outlandishness of it all, and finding unexpected satisfaction with every enemy tank disabled. Sure, it’s silly and predictable, but that’s sometimes the very definition of fun. There’s a whole future series of films planned, but it’s hard to imagine how they’ll top this one.

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
552 Followers and Counting

Here’s a good representation of what to expect, if you’re curious:
 

Black Panther (2018)

09 Friday Mar 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Drama, Sci-fi, Superhero, Thriller

See the source image

Our forefathers and ancestors we honor decades hence,
Their contributions critical, their heritage immense,
Yet generations prior had no guarantee of sense.

They faced headaches and made mistakes with little recompense
And bore their blunders as we do, and often more intense,
And sometimes leaving faults to fester at their kids’ expense.

Although we honor them and should, their good points as defense,
They’re no more perfect than we are who live in present tense.
To learn from them is wiser still than harboring offense.
____________________

MPAA rating: PG-13

When I heard Black Panther was scheduled just two months before Avengers: Infinity War, I had to recognize the wisdom of it. After all, Black Panther would probably be one of the smaller stand-alone entries in the MCU, right? And placing it so close before a hype machine like Infinity War seemed like a good way to ensure its success. Little did I know what a juggernaut Black Panther would become, breaking records and earning rave reviews left and right, which only compounds the wisdom of Marvel’s schedule. But I suppose I shouldn’t be surprised; it is after all the first stand-alone feature for a black superhero, and a lot of effort clearly went into it to make it worth the wait.

See the source image

Another clever point is how three separate characters were all previously introduced, Andy Serkis’s vibranium smuggler Ulysses Klaue in Avengers: Age of Ultron, Martin Freeman’s CIA agent Everett Ross in Captain America: Civil War, and of course Chadwick Boseman’s Prince T’Challa/Black Panther, also from Civil War. Having grown beyond his revenge arc in that movie, T’Challa returns home to deal with the fallout from his father’s death, namely fighting any challengers to his claim on the throne of Wakanda, a fictional country that hides an advanced African utopia behind the guise of a third world country. Yet an unexpected ghost from his family’s past returns in the form of Michael B. Jordan’s Erik Stevens, who gets the evocative villain name “Killmonger” and doesn’t get as much screen time as he deserves.

Many have noted the film’s biggest strength is its characters, and not just Boseman’s regal hero or Jordan’s complex villain. Compared with other Marvel outings, there’s a strong supporting cast here, especially the three women in T’Challa’s life: his not-quite-ex Nakia (Lupita N’yongo), the general of Wakanda’s all-female special forces unit Okoye (Danai Gurira), and his little sister Shuri (Letitia Wright). There’s a reason Wright seems to be everyone’s favorite; as T’Challa’s over-eager sister, she’s both a hilarious tease and a Q-style genius, providing him with gadgets and specializing in the many uses of vibranium technology, advances that would make Tony Stark jealous. There’s also Angela Bassett as T’Challa’s queen mother, and Daniel Kaluuya of Get Out is clearly having a good year, between his Best Actor nomination and a chance to ride a war rhino. And then there’s the two token white people in Freeman and Serkis, both refugees from Middle Earth who must have enjoyed working together again.

See the source image

I’ve been rewatching Marvel’s movies leading up to Infinity War and noticed how much more serious earlier films like Iron Man were, compared with the flippant comedy of 2017’s offerings. Black Panther is a return to that more straight-faced comic book style (albeit still with some laughs) and actually has pretty deep conflicting themes at its heart. I agree with one review I heard comparing T’Challa and Killmonger to Martin Luther King, Jr., and Malcolm X, both intending to help their people yet disagreeing fundamentally on how to do it. Killmonger is all about force and revenge, while T’Challa prefers the isolationism that has preserved Wakanda from the history of colonialism. T’Challa’s clearly the good guy, but it’s interesting how his position still changes in the light of past mistakes. To complement the thematic complexity, writer/director Ryan Coogler also displays his skill behind the camera, including a couple of those extended action tracking shots that elevated Creed as well.

I’ve read plenty of reviews saying things like “Is it as good as everyone says? Heck, yes and better!” I wanted to be the same way, but, as has been common with some of Marvel’s recent installments, I must be a bit more restrained in my praise. I liked it and have liked it more upon reflection, but it’s not among my favorite MCU movies. I suppose the main reason is all the African mysticism; while some of it is significant to the story and adds to the culture building, I’ve never particularly liked that kind of strange tradition and ritual, whether it’s African, Far Eastern, or something alien from Star Trek. Sorry if that sounds not multicultural enough, but it just doesn’t connect with me. Parts of it also seem to undercut how advanced Wakanda otherwise is, like deciding its leadership with a fight to the death.

See the source image

I can’t help but wonder, based on its historic place in comic book movie history, whether I’m racially obligated to love Black Panther, and no, I don’t think anyone should be. It is a good movie, exploring a hitherto unexplored corner of the MCU, but I personally don’t see it as top-three-Marvel-movie material. I enjoyed it overall, particularly the characters and the action, and the entire big battle at the end was absolutely awesome. I do think I’ll appreciate it more upon a rewatch, especially getting to see it again with subtitles. (I’m terrible with deciphering accents, and almost everyone had one, so I’m sure there’s stuff I missed.)

Like I said before, I shouldn’t be surprised at Black Panther’s success. I remember an episode of the cartoon Static Shock (itself a great superhero show with a black protagonist), where the main character was awestruck at meeting a professional hero from Africa, even though he himself had superpowers. There’s a lot to be said for being able to look up to a hero who looks like you. Turning out in droves, the black community deserves to see themselves in this noble and heroic character. Marvel, Coogler, Boseman, and everyone involved have much to be proud of, and even if certain elements will appeal more to others than to me, I’m glad Black Panther has found such success on the big screen.

See the source image

Best line: (T’Challa, with a very timely message) “Now, more than ever, the illusions of division threaten our very existence. We all know the truth: more connects us than separates us. But in times of crisis, the wise build bridges, while the foolish build barriers. We must find a way to look after one another, as if we were one single tribe.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
537 Followers and Counting

 

Cartoon Comparison: Train to Busan (2016) / Seoul Station (2016)

07 Wednesday Feb 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 2 Comments

Tags

Action, Animation, Anime, Cartoon Comparisons, Drama, Foreign, Horror, Thriller

See the source image

See the source image

When certain death surrounds you,
You’d be foolish not to fear,
To run and hide and save yourself
And those few you hold dear.

Yet in the face of jeopardy,
What will you sacrifice?
Your conscience and humanity?
For those too have a price.

For some, to care for more than self,
The risk may be too high,
But ask yourself how proud you’ll be
Both if and when you die.
________________________

MPAA rating for Train to Busan: Not Rated (I guess R but it’s not as bad as some)
MPAA rating for Seoul Station: Not Rated (should be R)

If someone had told me last year that the first movie I’d love in 2018 was a South Korean zombie flick, I’d never have believed it. I only half-believed all the positive buzz around Train to Busan because hey, it’s a zombie movie, and I don’t watch zombie movies. I’ve never seen Dawn of the Dead or The Walking Dead and have only really liked a precious few of that genre (World War Z, Warm Bodies). The living dead concept is intriguing, but usually it seems like an excuse for excessive gore and end-of-the-world futility. But for some reason I checked out Train to Busan, which I can now say is my favorite of the genre and honestly one of my favorite horror films period, mainly because it goes beyond its horror limitations to deliver exceptional thrills and emotional stakes worth caring about too. Since I loved Train to Busan then, I had to check out its animated prequel, if only for comparison’s sake, a prequel that reminded me exactly why I don’t typically enjoy zombie movies.

See the source image

First, let’s focus on the good one. Train to Busan seems like such a simple idea: zombies on a train. It could easily have been the concept of a B-grade cheesefest, but the filmmakers went above and beyond to make it gripping. A big part of that is giving us worthwhile characters, particularly Seok-woo (Gong Yoo), a disengaged father who decides to accompany his young daughter Soo-an (Kim Su-an) as she returns to his ex-wife in Busan. There are various other passengers that quickly stand out as “survivor characters”: a man and his pregnant wife, a traumatized tramp, two high school students, and a self-serving businessman, among others. Things seem to start normally as the train sets out, but an abundance of warning signs builds the tension as a zombie outbreak engulfs the nation and the train itself. From there, it’s an all-out flight of survival with a few much-needed moments to catch one’s breath (even a disarming chuckle or two), but the suspense is ever-present. I don’t think I’ve been this tense during a movie since Dunkirk.

What’s impressive about Train to Busan is that it delivers the scares and shocks alongside an insightful character arc without sacrificing either. Seok-woo starts out as an apparent coward, fearfully closing a door in the face of someone fleeing the zombie onslaught, yet his self-first philosophy is called out in the criticisms of his daughter, while also playing out to an extreme in the uncaring actions of other passengers. The contrast between these mindsets imparts to the action some deeper themes behind it. There are sacrifices aplenty, some meaningful, some pointless, but the film seems to affirm the importance of helping others in the face of desperation rather than just oneself. To that end, the conclusion is surprisingly emotional as well, right up to the film’s anxious final moments.See the source imageSince I’ve said I don’t like the gory side of zombie movies, I should address that part of it. There is blood, but Train to Busan is still greatly restrained compared with a lot of others out there. Heck, some of the commercials for Walking Dead are worse than anything in Train to Busan. A big part of that is the absence of knives and guns, which draw maximum blood while also dehumanizing the still human-like zombies. (Sorry, but all the head-shots and such bother me.) Here, baseball bats are as bad as it gets, and most of the blood comes from the initial outbreak of zombies biting people’s necks. The fact that the victims quickly “turn” also does away with the whole flesh-eating element while also making the ever-growing horde even scarier. So I was thankful that the film didn’t rely on violence for its scares. In fact, after the initial outbreak, it’s really more of a fast-paced thriller than a horror. The zombies are the running type also seen in World War Z, and there are several moments that had me going “oh my gosh” as things devolve from bad to worse, often making great use of the visual effects.

How then does Seoul Station, from the same director Yeon Sang-ho, compare? It’s not exactly anime since it’s Korean rather than Japanese, but it has a similar visual style. I think it purports to be a prequel showing the origin of the zombie apocalypse, but it doesn’t really give any further details about the actual cause. A wounded homeless man is apparently patient zero, and while he slowly “turns,” we meet a runaway girl named Hye-sun who has a falling out with her cash-strapped and selfish boyfriend. The boyfriend is soon confronted by her father, and the two of them go in search for Hye-sun right as the city starts spiraling into zombie-infested chaos.See the source imageSeoul Station has some merit to it, mainly in the strictly horror department. There are some moments of genuine terror, particularly a white-knuckle encounter with a crazy woman, so if you enjoy zombie movies for the situational tension alone, you might like it. I, however, found plenty to dislike. For one, the animation, while mostly good, has the stilted look that 3-D-ish anime hasn’t gotten past, such as the way the characters walk. In addition, the gore and foul language (subtitled) are more pronounced here than in Train to Busan, and the characters are dumber compared to the rather clever survival techniques in its live-action counterpart. For one thing, everyone seems very slow to grasp the idea of a zombie outbreak, as if they’ve never heard of a zombie before, whereas Train to Busan showed that “zombies” were exactly where people’s minds went.

Still, I could look past most of that if the ending were worthwhile, but this is one case where the ending completely ruined it for me. The film pulls out a dark twist that pounds in the whole end-of-the-world futility I mentioned earlier I didn’t like. The characters are far less sympathetic, and the end only amplifies that. I didn’t hate the movie as I was watching it, but by the end, I did. Seoul Station tries harder to focus on its themes of class warfare, which were much more subtle in Train to Busan, yet it comes off as a cheaper offshoot of a much better original.See the source imageI’ve said before that I have very particular tastes when it comes to horror movies, but seeing two ostensibly similar zombie films side by side made me consider why exactly I loved one and hated the other. I can say I prefer genuine creepiness and atmosphere over gore, but in this case, I think it comes down to this (spoiler warning): I don’t like stories whose main purpose is killing off its characters. If there’s no survivor by the end, then everything that came before was pointless. If I actually care about the characters who live and die, then the end product becomes even better. That’s why Train to Busan exceeded my expectations. Clearly, I’m not about to become a fan of zombie movies in general, but I’m glad to have found one member of the genre that truly impressed me.

Best line (from Train to Busan): (Soo-an, pricking her father’s conscience) “Dad, you only care about yourself. That’s why mommy left.”

 

Rank for Train to Busan : List-Worthy
Rank for Seoul Station: Dishonorable Mention

 

© 2018 S.G. Liput
536 Followers and Counting

 

 

War for the Planet of the Apes (2017)

30 Saturday Dec 2017

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 1 Comment

Tags

Action, Drama, Sci-fi, Thriller, War

See the source image

As long as wars and battles rage,
The world will yearn for peace;
So says the pacifist with sage
Detachment and release.

Yet when the battles come too close
And reap their ruthless wound,
How quick is he made bellicose,
His former faith impugned!

Yes, grief can make the wholesome hate,
The peaceful prime for war.
Sometimes their conscience wakes too late,
With much to answer for.
_________________

MPAA rating: PG-13

Perhaps the most surprising thing about these new Planet of the Apes movies is how good they are compared with how bad they could have been. Think about it: apes using sign language, sparse and simple dialogue, “monkeys riding horses,” as Everybody Loves Raymond once put it, concepts that could so easily become laughable. And yet both Rise and Dawn of the Planet of the Apes raised the bar for what this science fiction series could be, and 2017’s War for the Planet of the Apes continued the high quality and stuck the landing, so to speak.

Picking up two years after Dawn, this end to the trilogy sees Caesar (Andy Serkis) and his band of intelligent apes embattled with a military garrison led by the fanatical Colonel (Woody Harrelson, in grand villainous mode). There is plenty of wreckage still from Koba’s uprising in Dawn, from defecting gorillas siding with the humans against Caesar to the emotional baggage of Koba’s and Caesar’s actions. When the Colonel exacts a personal toll on Caesar’s family, the ape leader starts to share in Koba’s hatred and soon sets out with his most loyal friends on a quest for revenge. The story morphs several times as it goes, from western-like journeying through snowy mountains to brutal incarceration to a thrilling prison escape tale, all while following Caesar’s emotional rollercoaster and completing the allegorical Moses narrative begun in Rise.

See the source image

With each film in this trilogy, the visual effects have gotten more and more polished. The previous two still had moments when I could tell the apes weren’t real, but War makes them as realistic as any effect I’ve seen. Even if motion-capture technology  is perhaps not entirely perfected, it’s jaw-droppingly convincing at this point, which allows the apes’ emotions to be as clearly conveyed as any of the human characters’. The characters behind that effects façade are also better defined here than in prior films. The chimp Rocket and orangutan Maurice have been with Caesar since the first film, and while they barely registered in Dawn, the fact that they join Caesar on his trek allows them to stand out better from the rest of the apes. Also joining them is the eccentric Bad Ape (Steve Zahn), a zoo escapee who adds some much-needed humor to an otherwise bleak tale.

My VC has had a more restrained appreciation for these movies, admiring the visual skill but finding the execution a bit plodding and slow-paced. Even so, she found the story of War to be the strongest of the three, and although I prefer Dawn, War had the clearest character arc of the three, continued the subtle references to past movies, and worked in some evidence of how the world becomes as Charlton Heston found it in the original.

See the source image

I agree with her that the pacing could be tighter, particularly during the grueling prison scenes, but these films aren’t content to be mere action spectacles. They instead tackle deeper moral questions and universal themes of humanity, enlivened by moments of refreshing sweetness and stunning action. They’re a rare breed of blockbuster, and if their example overran Hollywood, that wouldn’t be such a bad thing.

Best line: (Caesar) “If we strive but fail, and the world remains armed against itself, then we’ve been divided, because the hunger for peace is in the hearts of all.”

 

Rank: List-Worthy (joining the previous two)

 

© 2017 S.G. Liput
524 Followers and Counting

 

Spider-Man: Homecoming (2017)

29 Friday Dec 2017

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Comedy, Sci-fi, Superhero, Thriller

See the source image

If there is money to be milked,
Hollywood is there!
If there are empires to be built,
Hollywood will dare!
If there are purists they can jilt,
If there are wishes they can wilt,
Hollywood won’t care!

If franchises refuse to die,
Some revel at the sight,
While others weakly question why
And still tune in despite.
But if you silence your outcry,
Hollywood might satisfy.
They sometimes get it right.
_________________

MPAA rating: PG-13

I was among the most skeptical when yet another Spider-Man was announced, and as amazing as Tom Holland’s debut in Captain America: Civil War was, I still wasn’t sold on Homecoming’s potential. I’m one of those people who grew up loving Tobey Maguire’s Spider-Man, and I’m firmly convinced that no other Spider-Man will replace him as my favorite or Spider-Man 2 as the best in the series. All that said, I loved Spider-Man: Homecoming far more than I was expecting and certainly more than the Andrew Garfield films (which I didn’t exactly hate either).

The trick that this new Disney/Sony partnership pulls off successfully is making this version of Spider-Man sufficiently different that it doesn’t feel like a rehash of what we’ve already seen. For example, Peter Parker’s origin story is completely skipped, assuming the audience already knows the basics about a radioactive spider and the death of his Uncle Ben. Instead, it focuses much more on Peter’s high school life, with fawning crushes, scholastic decathlon training, and his geeky friend Ned (Jacob Batalon) and more nonchalant friend Michelle (Zendaya). The typical Mary Jane, Gwen Stacy, and Harry Osborne aren’t here (mostly), and instead we have some fantastic continuity with the MCU, embodied in Tony Stark (Robert Downey, Jr.) as Peter’s detached mentor/benefactor.

See the source image

In avoiding past Spider-Man movies, we also get a new villain in Michael Keaton’s Adrian Toomes, who becomes the Vulture using alien tech left over from the Chitauri battle in The Avengers. Aside from the priceless in-joke of casting Birdman himself as the Vulture, Keaton makes his embittered contractor-turned-weapons dealer one of the best and smartest Marvel villains in a while, one who’s not evil for evil’s sake but who is still ruthless in doing what he thinks is necessary and justifying it as a family man. His battles with Spider-Man are far more thrilling than I expected from a second-rate villain like Vulture, and the fact that his motivations don’t involve world domination or destruction is actually refreshing at this point in the MCU.

Of course, the biggest challenge goes to Holland, who embraces Peter Parker’s inexperience and high school geeky side with appealing charm and an amusing tendency of being awestruck by all the coolness he encounters. What’s missing is his reason for helping people, which is unavoidable if you leave out Uncle Ben, but the filmmakers managed to create a decent replacement inspiration. With the high-tech suit provided by Stark, there’s a lot of fun to be had as Peter learns the bells and whistles available to him, including his own A.I. he names Karen (Jennifer Connelly), but he also begins thinking that the suit is what makes him a hero. How he comes to terms with that is quite well-handled, even if “With great power comes great responsibility” is still better.

See the source image

Surprisingly, Spider-Man: Homecoming exceeded my expectations (especially an awesome action scene at the Washington Monument), which is always welcome. There are still things I would have changed, from an off-hand porn joke to a few politically correct jabs. Plus, I’m not a fan of Marisa Tomei as the new “hot” Aunt May, who is no longer the wise and pious counselor of past versions and made me miss Rosemary Harris from the first three films. Even so, the plentiful humor and overall entertainment value of the whole made up for these lesser elements, though my VC was less pleased with the constantly joking tone.  So, although it doesn’t exceed Tobey Maguire’s movies for me, I’m largely satisfied with a new generation growing up with this Spider-Man (especially since they’ll likely still watch the original to get the full origin story).

Best line: (Peter) “I’m nothing without the suit!”  (Tony) “If you’re nothing without the suit, then you shouldn’t have it.”

 

Rank: List-Worthy

 

© 2017 S.G. Liput
524 Followers and Counting

 

Star Wars: The Last Jedi (2017)

27 Wednesday Dec 2017

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Drama, Sci-fi, Thriller

See the source image

In a galaxy far, far away, I’ve been told,
There are stories that fit in an orthodox mold
Of Death Stars and daring
And Jedi preparing
To free all from some evil emperor’s hold.

There are stories as well that are harder to tell,
That leave our hopes answered or dashed where they fell.
The many may mourn
With rebuttals of scorn,
For isn’t it always correct to rebel?

But stories in galaxies distant and near
Can hold fans and fault-finders equally dear.
Some waver and jeer;
Some stand up and cheer.
Does it matter who’s right when we’re both so sincere?
____________________

MPAA rating: PG-13

I don’t get it. I just don’t get it. Despite desperately avoiding spoilers, I quickly realized that The Last Jedi was to be a divisive entry in the Star Wars canon. Everything I did hear has been the critics lauding it and my fellow movie bloggers and “regular people” coming away with mixed feelings, thinking it falls somewhere in the middle of the pack and certainly below The Force Awakens. There’s even a petition to have it struck from the Star Wars canon. Now that I’ve seen it, I just don’t get the backlash because I LOVED IT! That’s right; for every divisive movie, you’re bound to get the full spectrum of audience reactions, and to balance out all the half-hearted ones, I’m here for a fully positive, non-spoiler review. My tastes probably differ from the majority. After all, I’m the guy who still loves La La Land, but personally I think The Last Jedi is head-and-shoulders above Force Awakens.

See the source image

Let me explain that perhaps shocking claim. I liked The Force Awakens and liked it even better upon a rewatch, but I’ll always consider it “the one where they killed Han Solo.” I remember walking out of the theater with my whole family shell-shocked, not high from a rousing film as it sounds like most people did. Not to mention, it’s too similar to the original movies. I now joke that, if it was a drinking game to take a swig every time there’s some parallel to the originals, you’d be drunk by the halfway point. Thus, I’ve come to value originality, which might be why I enjoyed Rogue One more than most as well. And The Last Jedi has originality to spare. There are still clear echoes of its forerunners (Jedi training in solitude, escaping from a besieged base), but those are broad strokes in a film that is far from a retread of what came before.

Last Jedi follows several plotlines that converge by the end: the Resistance trying to escape the overwhelming attacks of the First Order, Poe Dameron (Oscar Isaac) taking matters into his own hands for the sake of their survival, Finn (John Boyega) and newcomer Rose Tico (Kelly Marie Tran) endeavoring to shut down an enemy tracking device, and of course Rey (Daisy Ridley) training and trying to convince Luke Skywalker (Mark Hamill) to return to the fight while also finding a connection with Kylo Ren (Adam Driver). I didn’t find any of these plotlines to be boring, though it’s true that Finn’s role is fairly inconsequential by the end, and the stakes are as high as they’ve ever been in a Star Wars movie. In fact, one of my concerns is the sheer number of casualties on both sides. Still, hope is one of the key themes, as it has been since the beginning of the franchise, and despite how dark things get, it never failed to be entertaining, helped by a good dose of humor. (Again, I welcomed the levity that others have criticized. My mom still talks about how the entire theater was erupting with laughter during Episode IV’s theatrical run, so I don’t see what’s wrong with the humor here or how it’s not Star Wars-y enough. Again, maybe I’m just different, considering I’ve never hated the Ewoks or even Jar Jar Binks.)

See the source image

The originality I mentioned is explicitly acknowledged by Luke’s warning that “This is not going to go the way you think.” Whenever you think you know how something will play out, it veers in another direction. Granted, that sometimes makes certain actions meaningless, but it also keeps things continually fresh and unpredictable, spicing up what could easily have been a paint-by-numbers sequel. A key thematic struggle is what the best course of action is, not in a morally gray sense, but as far as whether to fight or flee and whether to obey orders, sort of tapping into the same fearful desperation as Dunkirk.

The new cast continues to be engaging, with the advancement of Rey, Kylo, and Poe’s characters especially, and unexpected callbacks to the original trilogy deepen the emotion of several scenes. There were new characters I liked, like Rose, and new characters I didn’t hate, like Benicio Del Toro’s codebreaker named DJ, but all the performances were excellent. Luke and Leia have plenty to do as well, and each has their standout scenes. (Unfortunately, one of Leia’s is also the most eye-rolling moment of the film.)

See the source image

Yes, there are disappointments, particularly for the much-theorized questions about Supreme Leader Snoke (Andy Serkis) and Rey’s origins, but those didn’t detract too much for me, especially because I’m not convinced they’re entirely settled. Remember that Luke and Leia being siblings wasn’t revealed until the third film. Plus, the vacuum of space doesn’t seem to be as deadly as it is in real life, something I’ve also noticed in Guardians of the Galaxy, for example. Perhaps the biggest disappointment that none of these more recent films can escape is the fact that Luke and Leia and Han didn’t get the happy ending we assumed after Return of the Jedi. That’s inherent to any continuation, but given the story established in Force Awakens of Luke becoming discouraged by yet another rebellious apprentice, The Last Jedi builds the plot admirably and respectfully, just perhaps not as die-hard fans might wish. One potentially problematic flashback is made more understandable when viewed as a moment of weakness and a misunderstanding, and I found the ending open enough to expect great things from Episode IX. And I’m sorry, there’s nothing here nearly as traumatic as Han Solo’s death at the hands of his own son. Why weren’t people rallying petitions to undo that?!

One aspect the prequel trilogy always excelled at was the action sequences, and The Last Jedi did not disappoint, especially since the whole movie is practically one long space battle. Laura Dern’s Admiral Holdo gets one of the film’s most epic sequences, while Mark Hamill gets the scene of the year, in my opinion. Even Rose and Finn’s jaunt on a casino planet was a fun diversion from the life-and-death struggle of the main plot. John Williams’ still-iconic score, the visual effects, and the odd creatures (don’t hate on the Porgs) were every bit as Star Wars-y as Force Awakens, in my opinion, and the light saber duels are as awesome as we’ve come to expect from this series.

See the source image

I guess I do understand some of the gripes people have had, such as the out-of-left-field new aspects of the Force or how wasted Gwendoline Christie’s Captain Phasma is, but for the larger uncertainty, I’d like to cite The Empire Strikes Back. Everyone hails it as the best of the franchise (I disagree), but think of how many questions were left at the end of that film. Was Lando Calrissian any better developed at that point than some of the new characters here? I mention this because my mom remembers how disheartened she was back in 1980 and how she would poke holes of her own, complaining that she couldn’t understand Yoda and the whole training part was boring and it was disappointing that the hyperdrive kept failing. Middle movies are often trickier than beginnings and finales, and based on my own initial enjoyment and how much happens in The Last Jedi, I do think that people will come to appreciate it more with time. So don’t overreact.

Unlike The Force Awakens, I did walk out of The Last Jedi beaming at the thrill of a great movie, and I compliment Rian Johnson’s divisive direction. In fact, it might be my favorite film of the year. My one big complaint is how long it is and how desperate I was for a bathroom by the end. I have no idea where Episode IX will take this tale, and that’s a good thing, to my mind, though I do hope it ends on a high note. While I was nervous going in, The Last Jedi had me guessing, laughing, sweating, and silently cheering from start to finish, and while I’m sorry for those who had less positive experiences, the controversies didn’t diminish my enjoyment one bit.

See the source image

Best line: (Rose) “We’re going to win this war not by fighting what we hate, but saving what we love.”

 

Rank: Top 100-Worthy

 

© 2017 S.G. Liput
523 Followers and Counting

 

← Older posts
Newer posts →

Recent Posts

  • Dust Bunny (2025)
  • Don’t Breathe (2016)
  • The Sheep Detectives (2026)
  • The Black Phone (2021)
  • Godzilla Minus Zero (2026)

Recent Comments

The Sheep Detectives… on Wildwood (2026)
The Sheep Detectives… on #40: Babe (1995)…
The Black Phone (202… on Halloween Kingathon – Mi…
Godzilla Minus Zero… on Godzilla Minus One (2023)
If You Were the Last… on The Martian (2015)

Archives

  • November 2026
  • September 2026
  • June 2026
  • May 2026
  • January 2026
  • December 2025
  • May 2025
  • April 2025
  • March 2025
  • February 2025
  • January 2025
  • December 2024
  • May 2024
  • April 2024
  • March 2024
  • February 2024
  • January 2024
  • December 2023
  • November 2023
  • October 2023
  • September 2023
  • July 2023
  • June 2023
  • May 2023
  • April 2023
  • March 2023
  • February 2023
  • January 2023
  • December 2022
  • November 2022
  • October 2022
  • September 2022
  • August 2022
  • July 2022
  • June 2022
  • May 2022
  • April 2022
  • March 2022
  • February 2022
  • January 2022
  • December 2021
  • November 2021
  • October 2021
  • September 2021
  • August 2021
  • July 2021
  • June 2021
  • May 2021
  • April 2021
  • March 2021
  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2019
  • November 2019
  • October 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • January 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • January 2018
  • December 2017
  • November 2017
  • October 2017
  • September 2017
  • August 2017
  • July 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • February 2017
  • January 2017
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • July 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • August 2015
  • July 2015
  • June 2015
  • May 2015
  • April 2015
  • March 2015
  • February 2015
  • January 2015
  • December 2014
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • July 2014
  • June 2014
  • May 2014
  • April 2014
  • March 2014
  • February 2014
  • January 2014
  • December 2013

Categories

  • Blindspot
  • Blogathon
  • Christian
  • Movies
  • Music
  • NaPoWriMo
  • Poetry
  • Reviews
  • TV
  • Writing

Meta

  • Create account
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Recent Posts

  • Dust Bunny (2025)
  • Don’t Breathe (2016)
  • The Sheep Detectives (2026)
  • The Black Phone (2021)
  • Godzilla Minus Zero (2026)

Recent Comments

The Sheep Detectives… on Wildwood (2026)
The Sheep Detectives… on #40: Babe (1995)…
The Black Phone (202… on Halloween Kingathon – Mi…
Godzilla Minus Zero… on Godzilla Minus One (2023)
If You Were the Last… on The Martian (2015)

Archives

  • November 2026
  • September 2026
  • June 2026
  • May 2026
  • January 2026
  • December 2025
  • May 2025
  • April 2025
  • March 2025
  • February 2025
  • January 2025
  • December 2024
  • May 2024
  • April 2024
  • March 2024
  • February 2024
  • January 2024
  • December 2023
  • November 2023
  • October 2023
  • September 2023
  • July 2023
  • June 2023
  • May 2023
  • April 2023
  • March 2023
  • February 2023
  • January 2023
  • December 2022
  • November 2022
  • October 2022
  • September 2022
  • August 2022
  • July 2022
  • June 2022
  • May 2022
  • April 2022
  • March 2022
  • February 2022
  • January 2022
  • December 2021
  • November 2021
  • October 2021
  • September 2021
  • August 2021
  • July 2021
  • June 2021
  • May 2021
  • April 2021
  • March 2021
  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2019
  • November 2019
  • October 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • January 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • January 2018
  • December 2017
  • November 2017
  • October 2017
  • September 2017
  • August 2017
  • July 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • February 2017
  • January 2017
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • July 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • August 2015
  • July 2015
  • June 2015
  • May 2015
  • April 2015
  • March 2015
  • February 2015
  • January 2015
  • December 2014
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • July 2014
  • June 2014
  • May 2014
  • April 2014
  • March 2014
  • February 2014
  • January 2014
  • December 2013

Categories

  • Blindspot
  • Blogathon
  • Christian
  • Movies
  • Music
  • NaPoWriMo
  • Poetry
  • Reviews
  • TV
  • Writing

Meta

  • Create account
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Blog at WordPress.com.

  • Subscribe Subscribed
    Rhyme and Reason
    Join 799 other subscribers

    Have a WordPress.com account? Log in now.

  • Rhyme and Reason
    View site in Reader
    Manage subscriptionsSign upLog in
    Report this content
    Collapse this bar